Why, yes.

Yes, you can.

I'm here to report a terrible crime.

And what terrible crime is that?

This one.

Congratulations on the film, guys.

Margo, you worked your ass off to get this made.

So why did you want Harley to tell her own story?

In her own way, I really had a, you know, personal craving.

Thio work with more actresses.

I really wanted to see ago going reflected on screen.

Since I feel like I've always been a part of a go going since I was four years old.

Sort of thing with my school friends, with my American friends on my London friends.

We always rolling a gang, and I just never see that on screen.

And, um so I felt like there was a gap in the market.

From a business point of view, I thought it would be a smart endeavor.

And from a personal point of view, I just wanted that.

And I felt like Holly actually, kind of is the girls go, and she's definitely a people person.

Um, watching Holly on our own would be like watching a kid playing a playground on the roof.

And it's never gonna be as fun if it's not populated with other people.

So I wanted that I thought would be great for the character.

And I thought the industry needed it.

Girl Gang action film.

Well, I couldn't agree more.

Now that we have Harley story, would you want to partner up with walking phoenixes?

Joker Feel like they exist in two different worlds?

I feel like, uh, I love.

I mean, I'm fascinated by the world that told Phillips and walking created, but it's definitely a more grounded reality in ours.

There's a little grounded elements is a little grit and grime, but it's also very heightened.

And it reflects Holly's personality in the little ways.

It's colorful.

Um, it's visceral.

It is violent, is very funny.

It jumps around, it's nonlinear.

It's a little kooky, just like her.

But it is always heightened.

There is that separation.

That distinction from reality when it comes to comes to our world.

So I don't know how they would fit in the same in the same.

Yeah, the same version of Gotham.

Yeah.

Have you guys talked about it?

No.

No.

Yeah.

I wanted to ask Ellen Christ, would you guys want to see your characters get their own spinoff movie.

I know Cassandra becomes back girl in the comics.

So what would you want her to explore in like a spinoff back girl movie?

I don't know.

There's there's so much more to explore with her and, um, in the comics house.

She's with Barbara Gordon and Batman.

But I would I would want to see where it takes off, because, I mean, when I first found out that I got the role, I I researched so much about Cassandra Kane and her backstory, and I feel like they're definitely could be more to tell about her story.

Um, which is super exciting.

And I mean, there's so much to pull from with the DC Comics.

What about you knows, as is low in the canon of ah, of villains in DC So I felt like a real responsibility kind of tread it, you know, give them a voice.

There been others as there was Azaz in one of the Nolan movies he liked passes by and Anthony Carrigan.

You know, that actor from Barry.

He did it on Gotham.

He was fantastic.

But sure, there's so much more.

I love playing this characters from the play of Villain.

There's there's no wrong or right.

So, yeah, I'd love that.

He would be because he has a very specific moral code.

I feel like I mean, a villain who really, truly thinks he's doing the right thing in the most and obviously, to ever notice.

It's completely sadistic and horrific.

But, yeah, I feel like I wish he had more.

Yeah, one time Salinger has a profit.

You know, he's like, in his way.

He's like, I'm saving looking One face I remember one of the notes was when we was still like putting the edit together.

I would remember one of them.

They're like, there's one too many face licks way Look back like, yeah, we've got three Face looks like a daisy.

She was incredible with that because that would do some really weird stuff to her 11 particular scene.

And then I went up to her after, like, three or four takes, and I was like, It's it's okay.

She was like, the weirder the better.

Okay, she was thrilled.

I was like, Whenever Kristen, come along, as as I was like, he's gonna do something so I can't wait for you guys killed it.

I can't wait for people to see this movie.

I'm also super stoked for the suicide squad.

I know it's early to talk about it, but Margo, can you tell us like anything about that film, not so much, but I can tell you that it's gonna be incredible.

And again, it's just interesting to see what a different filmmaking makes of Gotham in these characters.

And Holly, Really.

I'm fascinated by what James finds interesting about her compared to what Cathy finds interesting compared to what David found interesting about her.

So, um, and he's such a comic book lover.

So you know, it's always gonna be again rooted in the source material, which is always important to me.

We're gonna have to work together.

Sure.

How did working with Kathy and Christina influence how you played your characters in this film?

It was hugely influential.

You know, we spent a lot of time speaking with Cathy about how Huntress is back.

Story would manifest in her personality and how that would come out when she meets the other women and and, you know, getting to play around and improv and work off of that.

But in the script, there was already so much there in terms of what was taken from the from the comics but also all these new sort of personality traits that were peppered in.

So it was really it was a lot of fun.

I would concur.

And especially in the script.

For Renee Montoya is character, you know, having to convince the captain who took her position that she's right about room and sigh Onus.

You know, it's It's Berry was very rich for me toe dive into a swell.

So it was really cool in the eighties.

Yeah, you know, I don't know.

And, um, for me, the research really started with the comic books, um, as it did with all of us.

Um, and the conversations with Kathy for Black Canary, you know, was definitely centered around her trying to really hone in on her origin story, because in the comic books, black in there has been red con quite a few times.

And so we really picked and shows from different comics in order to create the Dyna lands that we have in the fill still trying to do justice and maintain the essence of Dinah Lance, but really honing in on this mother daughter split.

You know, this loss that she had with her mother, who was a crime fighter.

And what is that like when your mother is so great at something like that?

And why?

Why do you choose to reject that?

Um, is it because of the trauma?

Is it because you're actually afraid that you could become greater than her?

Because you have powers she didn't have, Um and so those were the motivations into the character and really choosing in really deciding Well, these are the choices she would make.

This is why she works a black mass club because she is trying to really go against what her mother did.

She's trying to race her mother from her life, you know?

And so it was great.

It was great to work with the source material work with Kathy and Christina.

I mean, you guys killed it, and we got to talk about these action scenes.

They are so unreal.

I know.

Chad's Topolsky was second unit director on this film.

What was it like filming those scenes?

And do you guys, like, have a favorite moment from the fighting.

No, listen, Chats Team 87 11.

They are some of the best in the business.

And they we trained for over five months with them in this like crazy warehouse that no one, no one were like hidden.

No one knew we were there and they pushed us really hard.

But I think for each of our characters were each capable of fighting like machines and so is really important.

In order to do justice to your character, step into your character and you gotta learn the physicality.

Like I can't play black and area, phone it in and be like I let her do it.

You know, it's like you gotta get in the think of it.

It was inspired in a work with you all too, because you killed It was great.

We was inspiring.

I mean, just to see these women working so hard and pushing themselves every day.

And there were days when we would.

The way we shot the fight scenes was often in these long wonders, which means you're not doing any edits.

You're just doing the whole fight from beginning to end.

So we had days, days on end while we're doing nothing but fighting and fighting and fighting and killing ourselves and then looking at each other.

Like Okay, wait.

Here we go.

Hour 10.

We're doing it again.

Um, and they were just endlessly inspiring just to see their tenacity and their willingness to, like, go for it and be aggressive and get dirty.

And I loved it.

We had a lot of rage to get.

Yeah, cathartic.

This woman here, though, is a force.

I was I was going to say that, um my first day of training, I tore my meniscus disc.

And so it was It was I thought, Oh, that's it.

I'm gonna be out of this film and I want to give so much creative toe 87 11 cause they said Oh, no, no, no.

We got you.

We're gonna get you stronger.

And you're gonna be ready.

Come shoot time.

And they did.

And it was pretty, pretty amazing.

And then inside there, while I'm doing, you know, callous tonics and strength training.

I'm watching these two girls just I mean, just kill themselves and just and it.

And it inspired me.

It really did inspire me to like work that much harder.

Kathy, you have just made history.

First Asian woman to direct a superhero film.

Second woman to direct a D.

C.

Film after Patty Jenkins.

I was reading that you actually called her while you were prepping for this film.

So I wanted to ask you how does this all feel?

And how was that phone call with Patty?

How is so great?

Um, she was just lovely, of course.

And, um, you know, that way there aren't that many of us that have done it.

So I think it immediately created a sense.

You know, it's such a strong bond and camaraderie there.

And now it's just It just feels good to have it out there.

We've been working on it for so long.

Everyone worked out really, really like such hard work there.

Everyone was so committed to this movie.

Margo, No pitch this movie almost five years ago now, and so I think it's just nice to have it out there.

I was so excited for you.

Did you ask Patty for any advice?

You called?

Yeah.

I mean, I was just like, how do you How do you do all this?

and and, um, how do you find the confidence to two direct such a big thing, even if you got the job.

But how do you actually do it?

And you know, And she was really, really kind about that.

And she was like, You have to just be confident in the fact that you're the director, and that is one position that is designed a certain way in which you, you know, you get to be the center of the decision making the creative decision making process for this movie.

And there's no one else but you to do that.

So just trust in that.

Yeah, You killed it.

Thank you.

I love this home so much.

It's so colorful.

I was sinking about how we've only really gotten to see Gotham visually through I feel like Joker and Batman size.

So how did you approach creating Gotham through Harley's eyes?

Totally.

Well, I think Harley is both very, very whimsical and loves color and glitter and all of that.

But at the same time, you know, there is still very like there's a darkness to her and a very practical grittiness to her.

And so that was what we were trying to capture to, um and we wanted to create a Gotham that was loud and rambunctious and on the streets, um, and, you know, very diverse and full of color and full of textures.

And it had a grits and aware and terror to it.

But not to the point that it was, like, just completely depressed and defend bleak.

Yeah, yeah, you can tell.

It's almost like it.

Shining like the outer boroughs of like a Gotham will be Harleys.